Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Soner Sarıkabadayı - Kutsal Toprak - Chord
Key Eb major – C minor Chords Bb, Cm, Ab, Gm, Fm Easy key G
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Key: Eb | Cm
Capo: 0
Cm Cm Bb Bb Cm Cm
Cm Bb Ab Gm
Cm Bb
Ne zaman aynayı sevmezsen
Ab Fm
Sana birde gel benden bak
Cm Bb
Eğer ateşin yetmiyorsa buyur gel
Ab Fm Bb
Bizi birde burdan yak
Ab
Bu duyguyu tarif edemiyorum
Gm
Yok işe yarar bir tek yorum
Ab
Gözüm kapalı bile seni görebiliyorum
Bb Cm
Gülümse çekiyorum
Cm Bb Cm
Adını yazmışım daha da yazabilirim
Bb
Doldurabilirim yaprak yaprak
Ab
Görebileceğim bir yerde dur
Bb Ab Bb
Neredeysen orası bana kutsal toprak
Cm Bb Cm
Adını yazmışım daha da yazabilirim
Bb
Doldurabilirim yaprak yaprak
Ab
Görebileceğim bir yerde dur
Bb Ab Cm
Nerede yoksan orası bana kapkara toprak
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Soner Sarıkabadayı - Kutsal Toprak Tabs
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Harmony analysis
Soner Sarıkabadayı – Kutsal Toprak: key and chord analysis
The song opens on Cm and ends on Cm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it both starts and finishes on Cm and Cm is heard 13 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Eb or to Cm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 2× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 2× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 9× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 14× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 13× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 13× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 2× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 2× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 9× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 14× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 40 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×5
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×4
- Fm Cm Ebii → vi Cmiv → iminor plagal ×1
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1
- Fm Bb Ebii → Vii → V Cmiv → VII ×1
- Ab Cm EbIV → vi CmVI → iVI → i ×1
The move to watch is Bb → Cm, heard 5 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Cm lays a solid floor for everything that follows. The chords that keep coming back are Bb, Cm, Ab, Gm; read them as V–vi–IV–iii in Eb or VII–i–VI–v in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. Ending on Cm, the song seals Cm as home.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Soner Sarıkabadayı - Kutsal Toprak Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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